Rock and Roll and Meandering Nonsense...
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This is the home of reviews, articles, interviews and general thoughts about punk, indie, metal, alt country, alternative, no depression, hip-hop, hard rock, soul, etc, etc, etc. Really, it's just a bunch of rambling garbage about rock n roll that spills out of my head...

Thursday, November 27, 2008

Video: Arlo Guthrie - Alice's Restaurant

Wednesday, November 26, 2008

Found in the Shuffle: Billy Nichols - "Give Your Body Up to the Music"

Song: Give Your Body Up to the MusicArtist: Billy NicholsAlbum: Larry Levan's Classic West EndThis song might not cause you to rethink your opinions on disco, but if it doesn't at least make you tap your feet, you're probably dead.

Tuesday, November 25, 2008

Review: Nikka Costa - Pebble to a Pearl

Soul has become a genre dominated by artists that have a real shortage of, well, soul. Sure, there's Jill Scott and a renaissance for Sharon Jones and Bettye Levette. That first Joss Stone album a few years back was even pretty good. But for each of these artists, there seems to be bazillions of good voices over bad beats and samples that are completely devoid of anything that could even be mistaken for soul.

Into this scene steps Nikka Costa on her new album, Pebble to a Pearl. The first thing that's striking is how retro her sound is. She draws largely from 60s soul and 70s funk, but what really ties her to those days, even more than the arrangements, is that her music is so warm and organic. Costa's voice has the ability to be pristine one moment and sultry the next. She can put enough power into a song to make it undeniably moving. The backing band doesn't have that stiff studio musician sound either. Costa and her band move together in the music, something generally absent from the genre today.

Costa doesn't nail every song on Pebble to a Pearl. She's at her best when she draws on the raw emotion of her 60s predecessors than she is reliving the tighter funkiness of the 70s, but her voice alone is a pleasure even on the worst of the tracks. On the songs that really cut her loose though, she a powerful confidence that demands she be taken more seriously than most of her peers.

Monday, November 24, 2008

Review: Guns N Roses - Chinese Democracy

Chinese Democracy is an album almost a decade and a half in the making. For this album alone, Axl Rose and his revolving door of musicians that make up what he still calls Guns N Roses have been at it longer than most bands take for an entire career. The Beatles changed the face of rock music in (considerably) less time. The cost of recording the album approaches the GNP of a small country. Throw in the promise of a free Dr Pepper for everyone in America (minus Buckethead and Slash, of course) and perhaps no album in history has had more hype. Frankly, I really thought democracy would come to China before Chinese Democracy would come to stores and it seemed like Axl had let it become so much larger than a rock album that he couldn't win by releasing it. It had become a joke.

As it turns out though, the album is not a joke at all. Unlike so may recent hard rock albums that have come out after long layoffs, this one actually shows that he's been up to something all this time. The album takes some chances and incorporates new sounds without losing sight of what GnR really is. That was particularly surprising, because most of GnR is in Velvet Revolver now. Nonetheless, Axl has stayed true to GnR's core without becoming stagnant. He wears a lot of his influences on his sleeve of course. His love for Elton John's over-the-top piano rock is no secret and it's in fine form here. The addition (at least at times) of NIN touring guitarist Robin Finck shows prevalently. Not every chance he takes works of course and after over a decade, the missteps should have been resolved. However, take the time and money out of the equation and Chinese Democracy is a very good record when compared to something recorded for a normal price and in a normal timeframe.

I have to say that I'm a bit disappointed in Chinese Democracy though. I was hoping that the joke it had become would play out nicely in a train wreck and provide at least a few more weeks of laughing at Axl's expense. But the joke's over. The album is solid, interesting and a bit adventurous and I guess that's better than the joke anyway.

Bruce Springsteen single "Working on a Dream" debuts on iTunes today!

ALBUM 'WORKING ON A DREAM' OUT JAN. 27 ON COLUMBIA RECORDS

Bruce Springsteen's single "Working on a Dream" will become available in the iTunes Store and on BruceSpringsteen.net today. Free downloads will be available through both sites today. The track will be a paid download in the iTunes Store from tomorrow exclusively through December 9.

Springsteen's new album 'Working on a Dream' has been set for January 27 release on Columbia Records. 'Working on a Dream' was recorded with the E Street Band and features twelve new Springsteen compositions plus two bonus tracks. It is the fourth collaboration between Springsteen and Brendan O'Brien, who produced and mixed the album.

Sunday, November 23, 2008

More evidence that the Beatles are the greatest rock band of all time

Friday, November 21, 2008

Found in the Shuffle: The Kinks - "Little Bit of Emotion"

In 1979, the Stones were between the bad, yet overrated Some Girls and the downright awful Emotional Rescue. Lucky for fans of 60s holdover bands, the Kinks took a break form making good music to record Low Budget. It's pretty much a complete throw away...except for this little gem.

Review: Clutch - Full Fathom Five (Audio Field Recordings 2007-2008)

As a studio band, Clutch has released several of my all-time favorite albums, but those came out a decade or more ago. As a live band, Clutch has never satisfied me. Their dynamic heavy groove that sets them apart from the field of Sabbath and space rock devotees that have popped up over the last 20 years has never been there when I see them in person and that, coupled with how much I've loved some of their albums, has been a tremendous letdown. But Clutch is a weird, wild band that builds on the craziest parts of heavy music, conspiracy theory, history and mysticism, so anything is possible at any time.

The opener, "The Dragonfly," led me to believe the worst about the album. It's hard to imagine that they could turn such a song flat and dull. The rhythms are plodding, the riffs quiet and the vocals out-of-sync. This is just what my live experience had been with the band and I was disappointed that I wasn't wrong. However, things pick up as the album moves along. By the time they get to "Cypress Grove," they've loosened up and the sense that Clutch is just a little bit off their rockers starts to come out in the song's maniacal groove. A few songs later, they tear through a version of "The Yeti" that makes a case to stand beside the studio version of perhaps the best song they ever wrote. The three final tracks, "Mr Shiny Cadillackness," "Electric Worry" and "One Eye Dollar," finish the album in a whirlwind that is one part Baptist minister, one part old blues musician on the street corner al with a heavy presence of their own unique psychedelic monster.

The albums tracks are gathered from four separate shows and the fades between tracks sadly emphasize this. However, it does gather steam as the band loosens up over the course of the album and, unlike just about any other live album compiled from multiple shows, has a real sense of what a show is like, rather than just a bunch of songs played live.

Wednesday, November 19, 2008

The Gaslight Anthem set to perform on Late Night with Conan O'Brien on December 9, 2008

The Gaslight Anthem are currently on tour with Rise Against and Alkaline Trio in the Midwest and have just finalized their plans for the holiday season with an appearance on Late Night with Conan O'Brien on Dec.9th. The band will also be in Los Angeles at the Key Club on Dec.14th to play a full set at this year's third annual ROCK TO ROLL charity event spearheaded by SideOneDummy Co-Founder Joe Sib. The event will directly benefit the non-profit organization UCP WHEELS FOR HUMANITY. Singer Brian Fallon will also be performing a solo acoustic set of Gaslight Anthem songs at the Bowery Ballroom in New York on Dec.19 in support of Jesse Malin. Jesse will be donating a portion of the proceeds that night to UCP WHEELS FOR HUMANITY.

Dec. 9 - The Gaslight Anthem on Late Night with Conan O'BrienDec.14 - The Gaslight Anthem at The Key Club (Hollywood)Dec.19 - Brian Fallon (TGA) at The Bowery Ballroom (NYC)

Fake Problems sign to Side One Dummy

Set to release It's Great to Be Alive on February 17, 2009

Fake Problems are a four piece eclectic, operatic, independent band of nomads that originate from Naples, FL. They will periodically return home to write new songs, sleep, fix their van and say hello to their friends. The rest of their time is spent on the road bringing their fiercely unique sound to young and old. Since the inception of the band in 2005 these guys have logged an impressive 200+ shows a year, released an EP and a Full Length album on Sabot Records. They are now set to release their next Full Length album, It's Great To Be Alive on Feb.17, 2009 (SideOneDummy Records).

Chris Farren (Guitar/Vocals) stands on stage left and delivers a vocal that has a maturity that is unexpected from such a young musician. The guitar playing of Casey Lee is equally as unique and brings a color and mood to the music that is very rare and exciting. Bass player Derek Perry and drummer Sean Stevenson provide a solid, creative rhythm section that seals the signature of the Fake Problems sound. The band also features a wonderful collection of horn parts throughout their records and occasionally tour with horn players.

The lead off track, "1234" sets the tone for the album and leads perfectly into the stand out track, "The Dream Team." Other highlights include, "The Heaven & Hell Cotillion" which chants the straight forward chorus of "I'm going to Heaven and you're going to Hell." The somber "Too Cold Too Hold" & "Tabernacle Song" keep the album interesting around every turn.

SideOneDummy is proud to be releasing Fake Problems - It's Great To Be Alive in stores on Feb.17, 2009.

These aren't just words from Charles Mingus. He didn't always manage to make things simple, but one of the many amazing things about Mingus Ah Um is that he took this incredibly challenging jazz, in perhaps its creative heyday, and made it as easy as pop music. That's not to say that he dummied it down. He didn't. He did exactly what he said, made the the complicated awesomely simple. What that means is that it's as easy as a pop record, but the ride is as fascinating and wild as Mingus' later more "difficult" albums. Pop stars of the day, like Sinatra or Nat King Cole, were pleasant, easy to digest artists while guys like Ornette Coleman and John Coltrane were pushing the limits of music as it was known at the time. Mingus Ah Um doesn't split the difference between those two schools, but rather fully accomplishes the goals of both, something that may not have happened again in popular music until Revolver and Sgt. Pepper almost a decade later. It set a standard for pop music to explore, to be avant-garde, and rock music in particular owes a tremendous debt to that spirit.

As great as Mingus Ah Um is, I've only ever heard it on CD until now. Legacy Recordings has re-issued this classic on 180 gram vinyl and it's like hearing the album for the first time. Its already abundant warmth is warmer and the sound more natural. If you own the CD, this is the perfect time to pick up the vinyl and really hear it the way it was meant to be heard.

Monday, November 17, 2008

Review: Cheap Trick - Budokan 30th Anniversary Edition

I always had a tough time understanding why Cheap Trick was so popular. Sure, "Surrender" is among rock's greatest songs and they had their share of other decent tunes, but why would they stand out like they did? The answer I was told is contained in their live show and this 30th Anniversary Edition of their Budokan set, re-packaging the original At Budokan shows into one DVD and three CDs, is the best thing short of being there.

The DVD features original concert footage from Cheap Trick's two nights at Budokan in 1978 that only aired once and only on Japanese television. If nothing else, the wild flamboyance of Rick Nielsen adds to the band's already electric live presence in a way that cannot be conveyed in the audio (at least not completely). The filming does have the quality of a TV special, but that shortcoming does little to compromise the entertainment value of a great live band in their element, especially at that very moment that will catapult them into the upper echelon of popular music.

Two of the three CDs recreate the the 1998 20th anniversary issue of At Budokan, remastered for 2008, but the real gem is disc 2, the April 28th show in its entirety. Most live albums really suffer from being culled from multiple shows, because they lose the real picture of the band live, the flow, the energy, the bumps and bruises even. This package however, gives the best of both worlds and the opportunity to really get a feel for why these shows shot the band into super-stardom.

For what it's worth, I saw Cheap Trick at the Virgin Festival in Baltimore in the summer of 2007, over 19 years after the legendary recordings contained in this set, and they were still amazing. The Budokan 30th Annivesary Edition is a great way to understand what the big deal was about Cheap Trick, but, as good as it is, it's still not a substitute for seeing the real thing and three decades later, while their peers are fat, old and boring, Cheap Trick can still deliver. See them if you ever get the chance.

New Springsteen album due January 27th

Bruce Springsteen's new album "Working on a Dream" has been set for a January 27 release on Columbia Records. "Working on a Dream" was recorded with the E Street Band and features twelve new Springsteen compositions plus two bonus tracks. It is the fourth collaboration between Springsteen and Brendan O'Brien, who produced and mixed the album.

"Working on a Dream" Song Titles:

1. Outlaw Pete2. My Lucky Day3. Working on a Dream4. Queen of the Supermarket5. What Love Can Do6. This Life7. Good Eye8. Tomorrow Never Knows9. Life Itself10. Kingdom of Days11. Surprise, Surprise12. The Last Carnival

Bonus tracks:The WrestlerA Night with the Jersey Devil

Bruce Springsteen said, "Towards the end of recording 'Magic,' excited by the return to pop production sounds, I continued writing. When my friend producer Brendan O'Brien heard the new songs, he said, 'Let's keep going.' Over the course of the next year, that's just what we did, recording with the E Street Band during the breaks on last year's tour. I hope 'Working on a Dream' has caught the energy of the band fresh off the road from some of the most exciting shows we've ever done. All the songs were written quickly, we usually used one of our first few takes, and we all had a blast making this one from beginning to end."

"Working on a Dream" is Bruce Springsteen's twenty-fourth album and was recorded and mixed at Southern Tracks in Atlanta, GA with additional recording in New York City, Los Angeles, and New Jersey.

Friday, November 14, 2008

Review: Lindsey Buckingham - Gift of Screws

A few years back, a friend and I made our list of the top 20 rock guitarists. At the time, I thought it was as close to perfect as such a list could be. It was however, deeply flawed and Gift of Screws reminds me why: Lindsey Buckingham wasn't on it. I'm not even sure how he was forgotten. Perhaps it's because, as good as he is, he plays for the song and not his own ego. Perhaps it was just that the songwriting often outshone his fretwork. Anyway you look at it though, we screwed up.

Buckingham's guitar work is nothing short of amazing on Gift of Screws. From the opening track, his ability to play like he's more than one person is astounding. The trouble with the album is primarily songwriting. Some of the songs are very good, nothing like the stuff he wrote 30 years ago with Fleetwood Mac, but good nonetheless. However, just as many feel like under-developed ideas. Strangely, these are the songs where his playing really stands out, because it alone saves them. It certainly doesn't seem like Buckingham's tank is dry, even as a writer. It just seems as though he should have taken a little more time fleshing out his musical ideas. It might have hidden his skill as a player a bit, but in a sense, that has been one of his best traits over the years.

Thursday, November 13, 2008

Review: Punchline - Just Say Yes

I saw Punchline a couple years ago and they really stood out. Maybe it was just that they were on a bill full of horribly sappy emo or maybe they were just better live than in the studio, but their albums never lived up to that show. Until now.

Just Say Yes doesn't make big changes to Punchline's sound so much as expands it. They still play pop-punk that has a tendency to err on the side whiny emo and they still nail their hooks. The difference now is bigger riffs and more dynamic songs. Instead of only drawing from within their narrow scope, they soak in Foo Fighter-ish pop rock ("Punish or Privilege" is undeniably close to "Big Me"), rock-ified cabaret ("Somewhere in the Dark") and angular neo-new wave ("Just Say Yes"). "Maybe I'm Wrong" crosses over that line that separates good ballads from bad, but redeems itself in a feedback-laden, chaotic end. The two closing tracks mark Punchline's increased musical breadth. "The Other Piano Man" finds them big, bold and more than a little flamboyant while "Castaway" is masterful mellow pop. Overall, the broader palette is fueled by increased confidence and more muscular, arena-sized riffs that will serve Punchline well at the next level even if it doesn't make them entirely memorable over the long haul.

At its worst, Just Say Yes is better than its predecessors. At its best, it is knocking at the door of the best commercial rock out there. Punchline's game is still pretty much the AOR of today, but they're now near the top of that game. The music is pleasant and easy, but in the best way that it can be. If you need a record to challenge you, just say no, but if you enjoy a smooth, easy ride from time to time, Just Say Yes is as good an answer as any.

Tuesday, November 11, 2008

Review: Grayceon - This Grand Show

Symphonic metal seemed like a good idea, but every time someone gives it a try, we either get Metallica's S&M, where classical is merely superimposed onto metal, or Dragonforce, where we get all the soul (or lack thereof rather) of classical dummied down for the average rock fan. It should work, but it never does.

Now, Grayceon isn't symphonic metal...but they do some of the things symphonic metal should. Sure, there's a cello, but their classical leanings go much further than just a bit of anti-rock instrumentation. Their arrangements, particularly in the 20+ minute "Sleep," draw from everything from the sacred compositions of Bach to modern power metal. What really sets Grayceon apart though is that they don't noodle for the sake of noodling nor do they play for the sake of merely displaying their skills. Their focus is on the music itself. While Jackie Perez Gratz's cello is immediately striking, it is Zack Farwell's drumming that plays the biggest part in the management of This Grand Show's energy. When the music is at its most dirge-like, the drums still go off. When the rest of the band catch up with Farwell, the tension is released and the energy explodes, then everything else tones itself back down and the tension and potential energy build again.

This Grand Show's madness isn't as immediately striking as it was with Grayceon's self-titled album last year, but don't be fooled. They've just gotten a little bit better at it. While you wait to be smacked in the face, they're knocking your feet out from under you and then setting you back up before you even know you've fallen. It's much more subtle, but don't think that means it won't move you.

Review: Scream Hello - Everything is Always Still Happening

So, what do you expect from a band called Scream Hello? I mean if it was Say Hello or Scream I Hate You, it'd be easy to form some preconception, but Scream Hello? Who knows. As it turns out, the name fits the band perfectly. There's plenty of screaming to be sure, but Everything is Always Still Happening is just as full of a warm welcome into its world. At its most fervent (on songs like “Bullets”), it reminds me of early Dag Nasty, sharing that same inclusive outrage, that anger based in love.

On the other hand, tunes like “Cocoon,” even with a punchy 2/4 undercurrent, have as much in common with Death Cab for Cutie (including an ability to get away at times with lyrics that should be cheesy but somehow aren't) as they do with anything hardcore. Scream Hello's multi-faceted approach allows songs like “We Don't Exist” to explore existentialism with both offbeat, dissonant quirkiness and straightforward, unbridled tenacity. It all goes into the mix with the gritty punk rock of Hot Water Music or Avail.

Everything is Always Still Happening has passion and movement, yet never loses sight of itself. It's the kind of album that can draw from the periphery without alienating its core audience, because it has so much to offer on every level.

Wednesday, November 05, 2008

Review: Copper Sails - Hiding Place

Copper Sails seems like one of those bands that could be poised for the big time. I mean, this thing they're doing worked for Coldplay, didn't it? Hiding Place is carefully thought out, constructed and performed. They steal form all the right indie and alt bands on both sides of the Atlantic. The melodies are catchy and the smooth vocals (and Thom Yorke-y falsetto) float on top of just the right mix of jangles, angles and crunch for those who enjoy the least common denominator served up over easy. At times, "Sleeping Giant" for instance, it's almost like an indie rock take on AOR. The problem here is that Copper Sails have been too careful. They never throw caution to the wind. They never cut loose. As a result, Hiding Place is safe and light, pleasant, but placid.

Review: The Baseball Project - Vol. 1 Frozen Ropes and Dying Quails

Baseball is a slow game with a level of intensity and athleticism that is generally below that of many other sports. Yet there's nothing quite like sitting in the bleachers on a warm summer evening. There's nothing like the 7th inning stretch, nothing like a double play. Even in the days when a roid-ridden bum wears a crown that many years ago belonged to the storied Babe Ruth, baseball still draws us in. The story of baseball, America's pastime, is as beautiful and checkered as the story of America itself with an up for every down and vice versa. Its stories aren't just statistics for the record books. They tell us something about ourselves.

The Baseball Project, made up of Steve Wynn (Dream Syndicate/Steve Wynn & the Miracle 3), Scott McCaughey (Young Fresh Fellows/Minus 5), Linda Pitmon (Steve Wynn & the Miracle 3) and Peter Buck (REM), is not simply a group of accomplished musicians who happen to like baseball, but rather a group as well-versed in baseball's deep human history as they are in America's musical tradition. This thoroughly American collection of songs about baseball, like the sport itself, is about so much more, because the band sees beyond the superficial.

They tackle the thankless good fight in "Gratitude (for Curt Flood)" (Flood sacrificed his career to fight against baseball's reserve clause) and life's tragic unfairness in "Harvey Haddix" (Haddix took a perfect game 12 innings and gave up a run in the 13th that kept him off a list of pitchers who only threw 9 perfect innings). "Fernando" shows the disparity between the displacement of Mexican-Americans at Chavez Ravine to build Dodgers Stadium and the LA fans' later embracing of Fernando Valenzuela. "Satchel Paige Said" is a tale of achievement in the face of adversity and "The Closer" is an analogy for moments of stress.

For music fans, the songs here are simply great and memorable. For baseball fans, the stories are a reminder of what still makes baseball important. For everyone, there is real humanity to which we can all relate. From start to finish, Frozen Ropes and Dying Quails uses baseball and song to tell us about life and few records ring as pure and true.

Contest: The Clash - Live at Shea Stadium on 180 gram vinyl!

I have a copy of the Clash's Live at Shea Stadium on 180 gram vinyl (not a crappy old CD) to give away. The first person with the correct answers to the following will win a copy. Don't put the answers in the comments. Send them via my contact form along with your email and mailing address.

1) The Clash had several drummers over the years. Which one plays on Live at Shea Stadium?

2) Longtime Clash drummer Topper Headon released a solo single in 1985 with a cover of a song by what jazz great?

Review: David Gilmour - Live in Gdansk

I had a few preconceptions coming into this one: David Gilmour is easily in my top 20 guitarists of all time. He clearly did great work in Pink Floyd and his diminished role on the Waters-dominated albums of the late 70s and early 80s show just how vital he (and Rick Wright) were to the band's sound and emotional quality. That being said, Gilmour's post-Waters work is a mixed bag. His eponymous solo album has some good moments and Division Bell is Floyd's best work since at least Animals (Shut up Wall fans, you've been deceived). The Bob Ezrin-dominated Momentary Lapse of Reason is, a few tracks aside, pretty near unlistenable, About Face is terrible and 2006's On an Island is only slightly better. Gilmour has his moments, they're just not all good.

To top that off, I saw Gilmour's Floyd on their 1994 tour. It was pretty easy to be taken in by the light show. Playing "Astronomy Domine" didn't hurt either. But it didn't take long for the smoke to clear and I saw it for what it was: old men going through the motions. They might as well have just played the records. Looking back, it might be the worst concert I ever saw.

So, I brought my baggage along, good and bad, for the Live in Gdansk ride. And here we go, David Gilmour, a favorite guitarist who hasn't done much that is notable in 30 years, is performing in the Gdansk Shipyards, famed birthplace of the Polish Solidarity movement that ultimately changed the face of Europe. Oh yeah, the Baltic Philharmonic showed up too. This has the making or either greatness or disaster!

Unlike my previous live experience with Gilmour, Live in Gdansk is not a sterile, note-for-note regurgitation of the material (mostly Floyd tunes, by the way). Gilmour's sound is so clean and yet here, he manages to make it warm and rich and natural. It doesn't always work perfectly. He changes the pace of "Astonomy Domine" and the result seems rushed, stealing some of its psychedelic thunder. However, that is the exception. For the most part, Gilmour breathes unique life into these old songs. None replace the originals, but many stand in their own light. Perhaps no challenge was more formidable than "Echoes" and it's there that he really shines. After being taken aback initially, this version's very different energy had a manic sense all its own, making it quite clear that Glimour, despite many recent stumbles, has a lot left to give.

This is not Gilmour's and certainly not the Gdansk shipyard's top moment, but both have a rich history that would be hard to eclipse. Gilmour's set is, however, worthy of this place and time, providing some fine new takes on old classics.

Writers

I am actively looking for new music. If you are a band or a label or a publicist and you'd like me to check out what you're doing, review your music or interview you, contact me HERE. I am currently submitting reviews and articles to both AMP and Glide magazines as well as FensePost.

For the sake of consistency, I use the following guide when rating albums:

Pehr Records - Your chances of discovering the next big thing might be better if you look here.

Parks and Records - A new label started by Jon and Mimi Fee (as translation.music semi-fame) with a DIY and green focus.

Non-Music:

For Callum - This site has information about Callum Robbins, the son of J. Robbins who played bass in one of my all-time favorite abnds, Government Issue. Callum suffers from SMA Type 1. The blog talks about how he's doing and how you can help.

TooManyVoices.com - My website with some other stuff I've done. Some is music related and some isn't. It includes a few of my web development projects.

Day to Day Rambling - Linda has this idea that she doesn't have much to say. I disagree. See what you think.

Tao Te Chuck - Just by watching his own little part of the world, Chuck has honed his observasion skills. What he finds is often touching and sometimes profound.

Nothing I've written here has any kind of copyright that I could enforce even if I wanted to. If you want to steal from me, go ahead. Frankly, I'd be flattered. I'm just happy you're reading my stuff. Peace...